Lakshman wrote:About 150 songs.
Request you may list as much! .I know 3 MD kritis Chintayamahalingam , Mahalingeshwaram** vara kriti on Sukra one Shyama sastri -Nilayadhakshi & chelineynetla.?.Pattabhiramayya ?- of DKJ .
** MD has composed 2 kriris on Thiruvadaimarudur on the same raga.!
Here is the Lec-Dem from Dr. V.V.Srivatsa.araju
The second rAgam of the evening was paraju. Paraju or parasu or pharaz or pfaras or however else it is pronounced also belongs to the same family of mALavagauLa. It is a sampUrNa rAgam and has lots of visEsha prayOgams. The etymology of the rAga name is attributed to it being the favourite rAgam of 'parasurAma' and hence 'parasu', or the usage of anya svarams ('para + ju'). Presence of 9 compositions of the trinity was placed on record. 4 kritis by Dikhistar. 3 kritis and 1 tamil gItam by shyAma sAstri and 1 kriti by tyAgarAja.
Sri Srivatsa started by saying that, when Dikshitar gets very fond of a kshEtram - rAgam pair, he composes 2 kritis at the same kshEtram in the same rAgam. He sighted ham vIru (the 2 'parimaLa ranganAtam's at thErezhundUr) and khamAs ('santAna gOpAla krishNam' and 'sArasa daLa nayana' at mannArguDi). He said thiruviDaimarudur and paraju form such a pair with two compositions on the presiding deity. This kshEtram is called 'madhyArjuNam' in sanskrit. 'arjuNam' is sanskrit for 'marudha' tree. Having a 'svayampu lingam' below this tree is supposed to be very auspicious according to the legends. There are 3 such places in south india. In north is srI sailam, one of the jyotirlingams. In south is a place called 'thirupuDai marudur' on the banks of tAmiraparaNi. In between these two is 'thiruviDai marudur' and hence, iDai marudur or madhya arjuNam. This kshEtram is called the mahA kshEtram. It has the big kshEtrams of deities according to the Agama rules on each side of it. svAmi malai murugan, chidambaram naTaraja, vEdAraNyam, tiruvArUr tyAgarAjA (sOmAskandar) were a few kshEtrams he named. And this placing led to the Lord being called as mahAlingEsvarar. The kriti 'chintayE mahAlinga mUrtim' was rendered in a rather slow kAlapramANam, compared to other versions i have heard in the past. The presence of rAga mudra was also highlighted.
The suddha madhyamam is the amsa svaram of the rAgam. The usage of prati madhyamam is not present amongst the trinity. however, jAvaLis have this usage. This rAgam has a vichitra placement. It automatically becomes chAyagauLa if not sung with care. sAvEri is also very close. a few lines of the kriti 'sarasvatyA bhagavatyA' in chAyAgauLa were rendered.
trilOka mAtA nannu of shyAmA sAstri was rendered in Adi tALam. Presence of a version in vilOma cApu was also placed on record. 'madurAmbA jayati' of madurAmba vibakti kritis of Dikshitar was presented also. 'nIlAyatAkshi' of shyAmA sAstri was the next piece to be rendered. It was mentioned that this kriti is tough to sing because of its unique structure.
The next was the rare 'varamaina nEtrOtsava' of tyAgaraja. It was mentioned that this is the last kriti in the opera, 'prahalAda bhakta vijayam'. Sri Srivatsa said he had learnt this kriti from Dr. S Ramanathan's notation and Smt. Seetha Rajan.
The second kriti at thiruviDaimarudur 'mahAlingEsvaram' was presented and the mentioning of the 'brahmahathi-dOsham' in this kriti was emphasised with the story.
Sri Srivatsa said that he was running out of time and hence he cant render 'srI sukra bhagavantam'. He said that 'sukrA' belonged to the bhArgava gOthram, which is the same as that of jamadagni and parasurAma. It is probably this reason that made Dikshitar compose this kriti on 'sukrA' in paraju. He said, dikshitar addresses 'sukra' alone with the expression 'bhagavantam' as he is only graham with all the 8 lakshNams and fit to be addressed that way. Smt. Vidya Shankar raised an objection saying 'bhagavantam' is indeed used in some other compostions like 'rAmachandram bhAvayAmi'. Sri Srivatsa clarified that this observation was with respect to the kritis composed on the navagrahams and not with reference to all of Dikshitar compositions. Also, he said that Dikshitar has used 'bhagavantam' and 'bhagavatya' in many kritis on various gods. He mentioned that 'sukra' is a 'subha graham'. The 'vAmanAvatAra' episode is also told in the kriti and the poking of sukrA's eyes by vAmana, thus rendering him squinted, is all condensed in the line 'kEsava kaTAkshaika nEtram'. 'ati dEvata' of sukra is Sri Ranganathar of Srirangam. 'Sukra' bestows a lot of good boons on your and is associated with all the 'amsam's in the horoscope.
Sri Srivatsa concluded saying 'paraju' is a rAgam that establishes 'adbuta' rasam. It is a mangaLa rAgam. One can sing 'paraju' to finish a concert. However it is a very tough rAgam to sing. As the rAgam shows a lot of 'adbuta' and 'hasya' rasams, there are a lot of jAvaLi's composed in this rAgam. A line of the jAvaLi 'celinEnETlu sahiyinchunE' was also rendered.